In one sentence: Crime 101 follows a meticulous thief, a sidelined insurance broker and a determined detective who find their lives converging over a series of carefully executed heists along the 101 freeway.

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Movie trailers are critical to a film’s success. They give audiences a sense of what a movie might offer and whether it is something worth their time. Trailers themselves are an art form. They must tease, tantalise and entice. Some succeed brilliantly, offering just enough to spark curiosity. Others fall short and unfortunately Crime 101’s trailer does the film few favours. I had almost dismissed the movie before the trailer had even finished. As it turns out, I could not have been more wrong because this is an excellent film.

The story follows Davis (Chris Hemsworth), a methodical thief who specialises in stealing insured valuables while they are being transported. His operations are swift, calculated and, importantly, non-violent. Alongside Davis, we meet Sharon (Halle Berry), an insurance broker whose promising career appears to be fading. Despite her experience and strong track record, her long-awaited promotion to partner continues to be pushed back while a younger colleague begins to take centre stage. Meanwhile, Detective Lou (Mark Ruffalo) becomes convinced that a recent string of high-value robberies are all connected and involve the 101 freeway. In typical fashion, however, no one seems willing to believe his theory.

The film opens with Davis executing one of his carefully planned heists, targeting a shipment of diamonds. Everything appears to be going according to plan until one of the couriers attempts to shoot him, only for the gun to misfire. Davis escapes, but the moment rattles him. His boss, Money (Nick Nolte), begins to question his reliability and sends Ormon (Barry Keoghan) to follow Davis and uncover details about his next move.

Going in, I expected relentless car chases and high-octane action, but Crime 101 takes a far more restrained approach and it is all the better for it. From start to finish the film remains engaging, exploring themes that give the story more depth than the typical heist thriller. Sharon’s storyline, in particular, provides an insightful look at ageism and sexism in the workplace. Despite her competence and achievements, she is treated as though her value is diminishing. Her frustration becomes an important driving force in the film and highlights the reality many women face when they find themselves sidelined despite strong performance. Lou’s character also exposes the frustrations within law enforcement where closing cases and meeting quotas can sometimes matter more than properly understanding patterns and pursuing the right suspect. One particularly striking moment, involving a police officer shooting an unarmed man, forces the audience to consider the uncomfortable likelihood of such incidents occurring in real life. Davis, meanwhile, represents the isolation of living on the wrong side of the law. His lifestyle leaves little room for genuine connection, something made painfully clear in his relationship with Maya (Monica Barbaro), whom he does not treat particularly well. His criminal world creates a distance between himself and any semblance of a normal life.

The film transitions smoothly between its three central characters, gradually weaving their stories together in a way that feels natural and well paced. Each character is given enough space for the audience to understand their motivations. The acting across the board is excellent. Hemsworth conveys the quiet weight of Davis’ lifestyle with a restrained intensity, Berry embodies the simmering frustration of a woman overlooked in her career and Ruffalo captures the weary determination of a detective trying to do the right thing in a system that seems resistant to careful investigation. In contrast Keoghan demonstrates the callousness and recklessness of a young criminal looking to prove his worth.

Naturally, a heist film includes chases, but here they are used sparingly. This restraint makes them far more effective when they do occur. Too often modern action films rely on spectacle alone, but Crime 101 demonstrates that less can truly be more. With a strong script, well-developed characters and impressive cinematography, the action sequences feel purposeful and push the narrative forward rather than existing simply for show.

The film also uses a clever bookending device involving yoga instruction. Leaning into the LA lifestyle, the calm voice of the instructor and the recurring imagery of yoga provide an unexpectedly effective narrative frame. It adds a distinctive stylistic touch that works well as both a thematic and structural element.

Overall, Crime 101 proves that a heist film does not need constant spectacle to succeed. With strong characters, a smart script and confident restraint, it delivers a gripping watch, even if its trailer suggests otherwise.

★★★★½ (4.5/5)